Tag: dream pop

Since forming plant cell a few years back, Masaki Sato has shown an eagerness to infuse his music with some Chinese influence. Sato’s connection to China is one that is rooted in his own personal experiences in the country. In his new project, Misty Cure, his aim is to push that bond to the forefront.

Misty Cure formed toward the end of 2018 when Sato and concrete twin leader/plant cell support member Kazzuya Okada recruited Chinese frontwoman Riyo, on whom the band’s image has largely been centered. The trio immediately got to recording, quickly posting a couple tracks to Soundcloud. The songs are basically covers of Faye Wong covers, with the band doing Chinese-language renditions of The Cranberries’ “Dreams” and “Bluebeard” by Cocteau Twins. As Misty Cure begins working on its own original songs, the approach seems to be focused around making Chinese lyrics the feature that defines the band in the Japanese scene.

It’s hard to really get a good idea about a band when covers are all we have to work with, but based on Sato and Okada’s previous work and the quality of the vocals on the track, I’m looking forward to hearing what Misty Cure does next.

2018 was an incredibly busy year in the Japanese shoegaze scene. There were exciting comebacks from beloved artists, brand new bands popping up all over the country, compilation albums galore, and lots of crossing over with international artists. It feels like this happens every time there’s news from MBV, but the year was incredibly active.

As a result, the “best of the year” list was an even bigger pain than it normally is. There was a good number of full length releases in 2018, and as usual the EP count was ridiculously high. There are a ton of omissions that I will certainly get panned for, but in particular the EPs from Nuit, Nurse, 17 Years Old and the Berlin Wall, tip top nap, and figure, among others were all really solid and could have easily made the list. On the album side, plant cell‘s Landscape release would have made it, but since the majority of the record is re-released material it didn’t feel right to include it. Also, the Total Feedback 2018 compilation was one of the best albums this year, but as a continent-wide shoegaze comp it didn’t qualify.

Now that that’s out of the way, here are my favorite releases of 2018:

☆ ★ BEST SINGLE ★ ☆

“Without you” by Otom

Tokyo-based ambient shoegaze producer otom has been steadily releasing singles since his last full-length release five years ago. The first of his 2018 releases, “Without You”, was also his strongest. The 6-minute track is a beautiful, blurry dreamscape of sunken vocals and layers upon layers of guitar and electronics. Otom’s catchy rhythm gets the listener’s attention before a crescendo of hissing static opens a portal to his vast world of sounds. “Without You” is gazey ethereal escapism at its finest.

Perhaps the biggest news of the year in this realm was the sudden release of new material from legendary alternative outfit Coaltar of the Deepers, whose “SUMMER GAZER ’92” single was the band’s first new music in 7 years. Though the track itself was a preview of the “Rabbit EP” that would soon follow, it was the only new track on the CD. The dreamy, jazzy number was perhaps more subdued than expected, but it was a really strong return from NARASAKI and Deepers.

Kyoto’s Browned Butter was one of the most pleasant finds of 2018. The young band announced itself with its debut single “Fall”, which was also included on Ano(t)raks’ “Die in Pop” compilation and would later appear as the title track of the band’s debut EP. “Fall” follows the very familiar Japanese shoegaze formula of a blaring guitar lead and twin vocals, but the former isn’t overly relied on and the latter is done exceptionally well. It’s a lovely song that isn’t even the best song on Browned Butter’s EP, which speaks to the quality of the band in its first year of activity.

There isn’t much else to say about otom that I didn’t already say in this post, but his winter-themed “Snowfall” single was yet another of the best singles of the year. If I stretched this list a bit more, he’d have even more music included.

When I wrote about Tokyo newcomers Kiwi recently, I made the comparison to one of the all-time Japanese shoegaze greats, Ether Feels. It’s a small sample, but their debut single “Beautiful Back” was a bit of emotional nostalgia that hit me in a way that few other tracks did this year.

★ ☆ ★ BEST EP ★ ☆ ★

“(I’m) Lost in Sadness” by Luby Sparks

Not too long after the release of their full-length debut in January, Tokyo’s Luby Sparks announced the departure of their singer Emily. Given her role in helping the band establish itself over the past couple years and how seemingly perfect a fit she was for their sound, there might have been some concern moving forward. But new frontwoman Erika absolutely kills it on the new EP, matching up perfectly with the dreamy melancholy of the new music. Luby Sparks picked right up where they left off with another moody effort that fittingly wraps up with a heart-wrenching version of Mazzy Star’s “Look on Down From the Bridge”.

As is the case every year, the EP pool was extremely deep. While there are more releases than I can reasonably fit in this list, COLLAPSE‘s “Delirium Poetry” sat alongside Luby Sparks’ EP on a tier above the rest. COLLAPSE’s noise attack is relentless on both the EP’s slower, brooding numbers and its pacier tunes. “Meadow” is perhaps the best example of what COLLAPSE do as well as anyone with a beautiful balance of heavy, layered guitars and wispy vocals.

Nagano’s AND LORELEI created a gorgeous listening experience with their “And Lorelei 0.2” EP. The songwriting throughout is really good, and the band showed the ability to create deep, breathtaking songs using a variety of methods. “Umarekawaru” and “Himitsu” are two of my standout tracks of the year.

Yuragi took a massive step forward in 2018 with the release of their “Still Dreaming, Still Deafening” EP. The young Shiga outfit has been consistently impressive over the past couple years, but the new music feels bigger and a bit darker than their previous work – you can especially hear this on the reworked version of “bedside”. I noted in my review that the flow of the EP as a whole feels a bit disjointed, but as a collection of individual tracks, “Still Dreaming, Still Deafening” is as good as any release from last year.

I wish I could make this list longer, as it doesn’t feel right to omit some really really good EPs, but that’s just how it goes every year. Taking my final spot in this post was the debut demo EP “In Demonstrationem” from Tokyo’s Yukla Down. “Torture Me (With Your Kiss)” is a delightful nod to My Bloody Valentine, while “If You Only Knew” is an absolute banger.

★ ☆ ★ BEST ALBUM ★ ☆ ★

“Luby Sparks” by Luby Sparks

So, yeah. 2018 was a pretty good year for Luby Sparks. This one was pretty much decided back in January when their self-titled album hit shelves. Luby Sparks is a warm and emotional yet dynamic collection of pop songs that range anywhere from jangly indie pop to lush dream pop to fuzzed-out gazey guitar rock that feels a lot like something off of Supercar’s iconic Three Out Change album. There’s a sort of gloomy nostalgia hanging over the whole record that is extremely satisfying. No album felt better to me in 2018.

While Coaltar of the Deepers and Sugar Plant got a lot of the comeback release attention this year, Lucy’s Drive‘s double CD release, pair of sounds, was arguably the best of the bunch. Split into a red and a blue version, pair of sounds as a whole is an effective nod to 90s UK shoegaze and britpop, with each of the discs having its own unique feel. The atmosphere ZEPPET STORE bassist Yuichi Nakamura creates in his solo project is consistently deep throughout.

Tokyo’s Once Grace Forever announced themselves in a big way, opting to forego the introductory single or short EP release and putting out a self-titled record that was shockingly good. The 8-track album is decently-produced for a self-produced debut effort and the songwriting is quite good. What really pushes this album to my best of the year list is the depth of sound from start to finish as the album drifts from post rock to more textural shoegaze. It’s not as refined as some of the other releases this year, but the quality of the content is really impressive.

Acidclank‘s Addiction album is another genre-hopping effort that once again shows the band’s affinity for 90s UK indie music. Just as on their 2015 debut, Inner, the band covers a lot of ground, but Addiction never manages to feel weird or inconsistent, thanks largely to more consistent production quality this time around. On the record, Acidclank is at their best when belting out textural psych tunes like “Overdose” and “This Time”. It’s another impressive, versatile release from the Osaka band.

Headlightswas the ultra-mellow, dreamy comeback release from Tokyo dream pop outfit Sugar Plant. The band’s first music in 18 years, Headlights throws it back to the band’s old sound, while also managing to keep things fresh on this tripped-out dream pop return.

While going through the seemingly endless list of new bands who have release material this year, the debut demo single from Tokyo’s “Beautiful Back” really struck me. It was the first I’d heard of the band, which formed in 2017 and appears to have been quite actively gigging in its home city. “Beautiful Back” kicks off in a manner typical of gazey guitar pop, driven by a bouncy pop hook over a simple riff. It’s a pleasant, catchy start, and while the beat remains unchanged as it transitions to the verse, the mood surrounding the song drifts to something sadder. The vocal tone and melody create a dreamy melancholy pop sound that feels like a throwback to the late Ether Feels. It’s a simple song, created using a formula that is by no means unique, but the end result is some feel-good nostalgia from yet another talented young Japanese group.

You can hear “Beautiful Back” on Soundcloud. I also quite like the live version of a song called “Behind the Times” I found on the band’s YouTube channel, so I’ve included that below as well.

It’s been sort of tough to keep up with all of the solid new shoegaze bands that have popped up in Japan in 2018, and the flurry of new releases from promising young artists over the last few months continues. It’s especially cool to see new representatives from outside the Tokyo area, as is the case with Hamamatsu’s plasmaclub who just released a debut two-track EP titled “14011”. Shizuoka prefecture’s largest city hasn’t yielded much in the way of shoegaze since the piqnic went more toward drony psych and post punk and changed its name to qujaku. On “14011” plasmaclub gives a bit of a nod to early piqnic with a heavily-layered dark, moody brand of shoegaze, and not surprisingly the release was also produced by qujaku guitarist Soushi Mizuno. The soaring guitar lead over hazy walls of guitar noise on lead track “dress” has the dramatic sound to it that was a lot more prominent in the Japanese scene in the early part of the decade. It’s a straightforward track that relies on heavy textures and dramatic vocal melodies over simple beats. “Veil of shine/(save me)” is similar, but a dreamier, wafting sort of track, highlighted by a sad, longing chorus. Both tracks feel like they would be tremendous live. Add plasmaclub to the ever-growing list of Japanese shoegaze bands to keep an eye out for.

Kyoto’s tip top nap put out their first single, “Yureru/Hakuchuumu”, in July, and just a couple weeks ago they followed it up with a new three-track EP titled “calm down”. The band has added its name to the remarkably versatile 2018 roster of fresh faces in the Japanese shoegaze scene at a time when the Kansai region could use a little depth. Tip top nap hops back and forth between bouncy post punk and slow dreamy psychedelia on the intro track “Dull”, slowing it down completely on the EP’s ambient, acoustic slowcore finale, “Hum”. Sandwiched in between the two is the band’s strongest track to date. “Moon” plays like the Kinoko Teikoku track that fans have been praying for for a few years now. It’s a mellow, emotional song that builds slowly to an explosive, heart-melting chorus, carried throughout by vocalists Natsumi Yamamoto’s gorgeous, breathy vocals. The song climaxes with a minute or so of roaring guitars and dreamy moans before dying down to an outro beat that gives you some time to catch your breath.

Figure, the solo project of Tottori-based musician Masanobu Hasebe, provided one of the more pleasant discoveries of the year, a new 6-track release titled “Parakalein”. The EP, which was released in both digital and cassette formats by Kobe indie label, Sauna Cool, is the first release from figure in four years. It’s a collection of washed out lo-fi indie pop tunes, spread out in layers over a backbone of snappy electronic drums. “Parakalein” hits the sweet spot where indie pop and shoegaze combine – something that’s been both popular and perhaps a bit contentious among some bands but undoubtedly successful in the Japanese scene. While there’s not a bad track on the EP, “True Bosom” is the highlight of the release – a blurry mishmash of jangly melodies, synths, and reverb-drenched blaring guitars. The six-minute “Mary” is a more uptempo, melodic pop song with an ultra-catchy chorus. It’s some well-written, charmingly-produced dreamy melancholy from an artist that will hopefully get some more attention from here on out.

Tokyo’s Luby Sparks is back with its second release of the year, a four-track EP titled “(I’m) Lost in Sadness”. The EP, which was produced by Yuck’s Max Bloom , is Luby Sparks’ first release since bringing in new vocalist Erika Murphy. With the band’s sweet melancholy still present, the new music takes a turn toward a more shoegaze sound, something that was hinted at with the release of hazy lead single “Perfect” last week. “Cherry Red Dress” is a stunning, moody dream pop tune and the title track is an epic seven minutes of layered guitars and well-harmonized twin vocals. The EP wraps up with a heart-wrenching cover of haunting Mazzy Star number “Look On Down From The Bridge”. While Luby Sparks’ self-titled debut full length effort from earlier this year is still sitting comfortably at the top of my 2018 release list, “(I’m) Lost in Sadness” hits home in a bit of a different way, showcasing the band’s ability to craft gloomy, nostalgic tunes using tremendous depth and texture. And while the loss of original Luby Sparks singer Emily was sad news, Murphy has shown she’s a perfect match for what the band does. These guys continue to show that they can write songs with the best of them with yet another top notch release to their name.

“(I’m) Lost in Sadness” is available to stream on Apple Music and can be purchased on iTunes or via Amazon (JP). Below is the video for “Perfect”.

In 2017 things got pretty interesting in the Japanese scene. The Daydream events took off this year, drawing some more of the focus away from Tokyo and further establishing Kyoto as Japanese shoegaze’s “second city”. Elsewhere, Nagoya’s local scene got a big bump thanks in large part to releases from local bands and the emergence of some new, young bands. There were also some long-awaited releases, a shoegaze idol group that blew everyone’s minds, and a couple of tragic break ups. It was a busy year with a few intriguing storylines.

In 2017 things got pretty interesting in the Japanese scene. The Daydream events took off this year, drawing some more of the focus away from Tokyo and further establishing Kyoto as Japanese shoegaze’s “second city”. Elsewhere, Nagoya’s local scene got a big bump thanks in large part to releases from local bands and the emergence of some new, young bands. There were also some long-awaited releases, a shoegaze idol group that blew everyone’s minds, and a couple of tragic break ups. It was a busy year with a few intriguing storylines.

Release-wise, there was still the “not enough full length releases and too many EPs” problem, but it was more manageable. The bigger issue this year was the closeness of the contenders. At least for the LP and EP lists, the top spots were pretty obvious in my mind. Below that I did a lot of shuffling throughout the year. So, as is usually the case, I could very easily change this list around in a week or so.

As is the case everywhere there will be some seemingly notable omissions on this list, but there’s a good reason for them. The most obvious one would be Plant Cell, who re-released Flowergaze? in 2017. As it’s just a re-worked version of a 2016 album, I left it off this year’s list. Then there are bands like Apple Light and Crunch who both released really good music this year (the new Apple Light is seriously so good), but neither falls in the blurry realm of shoegaze or dream pop, even at its blurriest. Cairophenomenons, Amsterdamned, Kill My 27, Acidclank, and Looprider all released good stuff this year that would have qualified on their own but ultimately didn’t feel right in this list.

With that out of the way, here are my favorite releases of 2017:

★ ☆ ★ BEST SINGLE ★ ☆ ★

“NEO TOKYO” BY YOUTHMEMORY

At first listen, Neo Tokyo sounds like a pretty big departure from youthmemory’s previous material. This is true in the feel of the music with the usual bouncy rhythm and jangly guitar backdrop replaced by drum machine beats and dense synth pads. However, the Tokyo band’s M.O. of crafting danceable, lush, dreamy pop music remains unchanged. There’s something cold and even a bit gloomy about this release, but it was a great change of pace without ever straying from what had made youthmemory a really enjoyable band. (Bandcamp)

If this list took live performances into account, Fog Park would be right at the top. The Saitama-based newcomers put out two demo singles in 2017 – “cigarette punch” in January and then “sleeping cat” in May. While neither of the demos demonstrates how brutally loud these guys are capable of being, the songs are still really good. I’m looking forward to their recently announced debut mini album “beautiful blood”, that was released on 1/20. (Currently only available at shows)

The Kansai region consistently produces some of the country’s best dream pop acts, and the best of the bunch in 2017 was Mariana in our Heads. The five-piece put out a single an an EP this year, and while the latter received some consideration before ultimately falling to some strong competition, their “Anemone/Yarn” 7-inch was among my favorite singles. While I generally favor harder-hitting, noisy chaos, I do occasionally have a soft spot for really warm synth-laden dream pop. 2017 was a good year for that, and Mariana in our Heads nailed it. (Flake Records)

The most bittersweet entry on this whole list belongs to Ether Feels, whose “moonshine” single would be the last material they released before announcing all of the members would be going their separate ways. The track actually starts off uncharacteristically peppy before transitioning into the sad but catchy melancholic pop sound that Ether Feels spent years doing so well. (Bandcamp)

I have mixed feelings about Japan’s hottest shoegaze band, ・・・・・・・・・(pronounced “dots”). The idol group’s surge in popularity is probably due more to their live gimmicks and cute-but-edgy idol shtick, but their debut single “CD” features some legitimately good music – particulary “Slide” which was written by For Tracy Hyde’s Natsu-bot. I remain skeptical of “alt-idol” acts, but credit where credit is due here. (Amazon)

★ ☆ ★ BEST EP ★ ☆ ★

“INTO THE DREAM” BY SOFTSURF

With all due respect to the rest of the bands who released EPs this year, this one was never going to be close. It’s been fun watching softsurf’s rise over the last couple years, and “Into the Dream” helped solidify their status as the best shoegaze band going in Japan right now. I’ve beaten the Slowdive/Pastel Blue comp into the ground to this point, but it’s pretty remarkable since that sound is so rare here. With their first proper release and a three-city tour in support of it, Softsurf had an incredible year which saw them establish themselves within the national shoegaze scene. And you’ll be hard-pressed to find a better live band in that scene. (Amazon)

Though Softsurf was in a league of its own in 2017, there were still some really good EP releases in the next tier. 17 Years Old And The Berlin Wall put out their second EP Reflect last year, following up their excellent 2015 debut. 17Berlin’s sound pretty much reflects the popular sound in the Japanese shoegaze scene, with male-female vocal harmonies and poppy guitar melodies. What has set them apart, besides the fact that their songs are really catchy, is the fact that hit a bit harder they’re willing to muddy it up a bit and drown some of the sweetness in guitar noise. (Flake Records)

My 2017 Rookie of the Year award goes to Kyoto-based newcomers Nurse, who released their debut EP ODD. Nurse sort of spawned from the very short-lived Hakusen Shikatsu, who released a couple impressive demo tracks earlier in the year and then split. But the new project is even better and way way noisier. Hopefully these guys stick around for a bit. (Bandcamp)

Chiba’s plant cell may not have been qualified for the album of the year award, but they put out two really good EPs in 2017. The first, titled Queen of the Nebula – Fairy Lurking In the Thundercloud, was a thematic departure from their usual nature/spirit-based content, but featured their usual dense, dreamy sound. The second, Cyan, was a collection of new versions of songs previously released on CDs or as singles on Bandcamp. To be clear, the rebuild version of Flowergaze? wasn’t included in the list because it was just a modified version of a previously released album. Cyan, on the other hand, was recorded from scratch and marked plant cell’s first recording as a full band. The result isn’t really all that different, but the live drums add a bit of warmth to some familiar tracks. For a band that’s put out some of the same tracks more than a couple times now, plant cell always manages to keep things interesting. (Disk Union)

Perhaps better known as half of Hachioji-based alternative band The Weddings, singer-songwriter, kano, has been writing some seriously good dream pop tunes over the last 2 years. Her second EP, Shochuu, is short and sweet, including three whimsical, feel-good tracks with some really pretty textures woven along with gentle, breathy vocals. The release was fairly low-key, but the release really hits the spot and rose to the top of a very deep list of 2017 EPs. (File-Under Records)

★ ☆ ★ BEST ALBUM ★ ☆ ★

“HE(R)ART” BY FOR TRACY HYDE

For Tracy Hyde outdid themselves and delivered the most enjoyable album of 2017. While most bands are putting out singles and EPs, the Tokyo-based dreamy indie pop/shoegaze outfit released an incredibly well-written 17-track album (16 if you don’t want to include the intro) that draws on western indie pop influence while conjuring youthful imagery of life in Tokyo. That imagery is key, as He(r)art is structured like a film, down to the movie poster album cover and “Opening Logo”. It’s a nostalgic, playful, and emotional walk through a massive city and impactful relationships made there. While He(r)art is an extremely cohesive album that is best consumed as presented from start to finish, the individual tracks stand well on their own as well. “Leica Daydream”, “Houbutsusen”, and “Teen Flick” are among my personal favorites, while “Ghost Town Polaroids” might be my favorite track of the year. There are some strong contenders below, but For Tracy Hyde owned 2017. (Amazon)

There’s not much to say about Shelling‘s latest album, Waiting for Mint Shower!! The Tokyo-based duo gave us another gorgeous album based on the simple-but-effective formula of blanketing everything in a cascade of reverb-soaked guitars, warm synths, and Aya’s gentle, breathy vocals. The way the tracks subtly evolve over the repetitive beats and lulling bass lines is hypnotic. But you’ve heard all this before. (Amazon)

Taffy is an interesting inclusion, because I almost have to remind myself that they’re a Japanese band. More appreciated overseas than in their home country – which is crazy for a band of their quality – Taffy occasionally emerges in the Tokyo scene as they did in 2017 following the release of their Nyctophilia album. Taffy pushes guitar texture to the foreground, making the deeper lying melodies more subtle and the overall tone of the tracks harsher. The result is a much different album than most of the releases you find on these lists. (Amazon)

One of the biggest surprises of the year was the announcement from Nagoya’s Tokenai Namae that they’d be returning from their fairly lengthy hiatus with a new album. On Seifuku Kanro Kurabu the kayo-pop shoegaze band stayed true to their sound with a cute but chaotic blend of bubbly vocals, bouncy synths, crunchy bass, and ear-blasting guitars. It’s pacier than the first, and everything below the synth leads feels like it’s been bumped in the mix, making things sound a bit messier. A really solid release, which is remarkable considering the band was inactive for the better part of 2017. (File-Under Records)

There are two albums dueling it out for the fifth spot on this best albums list, both of which were fairly long-awaited releases. Cruyff in the Bedroom‘s first full-length album in almost 5 years, Hate Me, was probably the most highly-anticipated Japanese shoegaze release coming into 2017. Caucus‘ first in four years, Sound of the Air, came later in the year and was fairly low-key in comparison. Hate Me had higher highs with a few bangers including HATE and my personal favorite Laurelei, but got a bit too clean and rock n roll at times. Caucus’ record had its own hot track in lead single, “What Have You Done”, but the album was more consistent start to finish, giving it the nod. Caucus changes pace well on the album, going from fuzzy pop tunes to slower, more textural tracks like the almost 9-minute “Circles”. Overall it was a more interesting listening experience. (Caucus on Amazon) (Cruyff in the Bedroom on Amazon)

This time I’ll be looking at Daydream Kyoto Day 2, which will take place at Nijo Nano. Follow the links below for event info and ticket reservations.

Over the last few years, Kyoto Shoegazer has emerged as the biggest showcase of the local shoegaze scene in Japan. This year the Kyoto Shoegazer team has put together Daydream, a four day festival spanning three cities that will kick off in December. The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer. I will be previewing each of the events as they come. This time I’ll be looking at Daydream Kyoto Day 2, which will take place at Nijo Nano. Follow the links below for event info and ticket reservations.

Honeydew

Honeydew is a Tokyo-based alt rock power trio. Originally formed in New York, the band’s sound is influenced by a number of 90s American alternative bands, and versatile enough to appeal to a wide range of fans. Their live performances are ultra-tight, and their high-energy performances are absolutely must see.

me in grasshopper

With members based between the Kansai and Tokai regions of Japan, it’s only fitting that me in grasshopper will be performing at Daydream events in both Kyoto and Nagoya. Over the past few years the band has become one of the flag bearers for the Nagoya shoegaze scene on the strength of their sweet melodies and subtle yet persistent guitar noise. Their 2015 “NEW SATURDAY e.p.” was one of the best of the year. In 2016 the band supported YUCK on their Japan tour, and they will be supporting Brooklyn’s Lazyeyes in Nagoya in January.

Yuragi

Hailing from Shiga prefecture, Yuragi is yet another young, exciting band to emerge from the Kansai-region over the last couple years. Their sweet but strong sound incorporates whispy vocals and big wall of sound guitars driven by uptempo pop beats. 2016 has been a big year for the band with the release of their “bedside” single and the announcement of their upcoming “nightlife e.p.”, which will be out on 12/27. They’ve also announced they will be supporting Lazyeyes on the New Yorkers’ Japan tour.

Acidclank

Acidclank is another one of those exciting young Kansai bands. The Osaka indie rock outfit put out a really impressive album titled nner in 2015, on which they demonstrated their ability to create a range of sounds from shoegaze to psych at a consistently high level. Once a home recording project, Acidclank is now a fully functioning live band that has been gigging a ton over the last year or so. These guys have a bright future ahead of them.

ether feels

There are few active shoegaze bands in Japan that have put out as much consistently good material as Ether Feels. Their melancholy blend of pop and shoegaze has resulted in a sound that is all their own, and their quality has earned them a good amount of attention outside of their home country. Their Daydream performances will wrap up a busy year that’s included gigs around Asia, the release of a greatest hits album titled hen The First Time We Met and an upcoming split EP with Yukino Chaos.

日本でEther Feelsほど、コンスタントに良い楽曲をシーンに提供してきたバンドはそういないだろう。彼ら独自のポップとシューゲイズのメランコリーな配合は、日本国外でも注目を集めてきた。DAYDREAMでのパフォーマンスは、アジア各地でのライブ、ベストオブアルバムhen The First Time We Metのリリース、Yukino ChaosとスプリットEPの共同リリース、と忙しい年の有終の美を飾るだろう。

twelve fluffy chair

Local band Twelve Fluffy Chair offers a sparkly brand of shoegaze pop. The Kyoto foursome recently released their second EP B A R, which features some cute guitar-driven pop tracks. Their strength lies in their ability to write ultra catchy choruses and melodic hooks, as well as adding a little edge to otherwise light, playful songs.

boyfriend’s dead

Boyfriend’s Dead is a Kansai-area shoegaze veteran and a band that adds an element of fun to any gig they play. Their sound is an upbeat, danceable blend of shoegaze and pop, and their energy and stage presence makes for a great live show. The band’s most recent release came in the form of a self-titled EP released on local Osaka-based netlabel Thru The Flowers.

I get really excited any time I hear about a new shoegaze band popping up here in Nagoya. Though Nagoya is a big city with its own rich music scene, there isn’t a whole lot going on in the way of shoegaze or even the dreamy indie pop that’s been taking over elsewhere.

I get really excited any time I hear about a new shoegaze band popping up here in Nagoya. Though Nagoya is a big city with its own rich music scene, there isn’t a whole lot going on in the way of shoegaze or even the dreamy indie pop that’s been taking over elsewhere. Bands like Tokenai Namae and me in grasshopper are the flag bearers for the genre in the Tokai region, and there’s enough of a fanbase to support it – the 2013 Japan Shoegazer Festival in Nagoya sold out Tsurumai Day Trip – but even here the scene is mostly driven by bands from Japan’s two largest cities. Occasionally, however, a new band does pop up, as was the case last year with the emergence of Anjo-based Haguki. This year’s impressive newcomer to the Nagoya shoegaze scene goes by the name Softsurf.

Softsurf started up in January of 2016, and largely went unnoticed until July, when they took part in the Nagoya Shoegazer Expo event in Tsurumai. Shortly thereafter, their two-track single “Blue Swirl/Beautiful Day”, was released for free. Under founding member and band leader Kitamura, they underwent some lineup changes before settling in and focusing on gigging more. Though the band’s members are each influenced by a number of genres and styles, Kitamura’s vision is largely focused on 90s shoegaze. He does admit, however, that bands like Pink Floyd and the Beach Boys have naturally worked their way into his sound (and in the case of the latter, into the band’s name as well).

Each track on Softsurf’s single offers something a little different, sound-wise. “Beautiful Day” is more of a twinkling pop tune that floats along, whereas “Blue Swirl” hits hard with a blend of big guitars and airy synths. “Blue Swirl” is the track that the band has chosen to push on their Soundcloud page, and based on Kitamura’s stated creative goals, it would seem to be more indicative of the band’s future direction. “I like psychedelic and ambient songs with aggressive guitars and vocals that feel like they’re floating,” he explains. “I want to take that and shape it in my own way.”

Reviews of Softsurf’s live performances to this point have been really positive, and the small sample of music made available thus far has been really encouraging. The band will be taking the stage this coming January at Daydream Nagoya, and beyond that they are determined to have an impact on the shoegaze genre in Japan. Next up for Softsurf is a slot on the upcoming Daydream Nagoya bill, and hopefully a lot more shows and music.